The Focal Utopia line of acoustics is the pinnacle of the activities of this eminent French company. Utopia has been around for many years, so it is logical that changes occur with some (completely unobtrusive) frequency in the line and in the designs of individual models. They always cause a lot of discussion, because in the audiophile community these acoustics rarely leave anyone indifferent, and opinions regarding changes and models vary.
To my taste and hearing, the Scala model had versions that were not very successful, falling outside the general level and class that one can expect from acoustics united by the name Utopia. And just recently a new version was born - Scala Utopia III Evo, the third for Scala personally and which became part of the global update of all “Utopias”. We will get acquainted with this new product, studying it with the proper level of pickiness.
More color
First of all, it is interesting to understand the changes and sound of the Focal Scala Utopia III Evo, because almost the entire Utopia line has undergone a similar update process. The new Scala is available now, and the remaining models, up to the top Grande Utopia (presented in updated form at the recent Munich show), will go on sale in the autumn. Thus, this is not a single change to one specific model, but an evolution of the entire line.
The only thing that somewhat surprised me was that within the framework of the previous Utopia III series, Diablo bookshelfs were left without the Evo prefix. It would be nice if the Viva central channel and the “utopian” subwoofer remained there, but the bookshelf speakers... Are they really assigned exclusively to the role of expensive rear speakers? I doubt it, because these are very decent speakers. Maybe the issue is competition with the younger Sopras, which are really just as good? I don't have a definite answer. For now, we will study the qualitative class of changes using the example of Scala Utopia III Evo, which now turns out to be the youngest in the entire line. Although, of course, this is very conditional - junior ones, yes, but large three-way floorstanding speakers weighing 85 kilos are linked rather conditionally with the concept of “junior”.
General view of Focal Scala Utopia III Evo against the background of “relatives” from other lines
At first glance, the external changes are not very noticeable, but this is only at first glance. Belonging to the Focal Utopia line is also unmistakably determined. However, if the company radically redesigned the acoustics and the entire line, this would raise the following questions: what happened, a change in ideology, or is this a hint that “everything was complicated” before? But such a thing is difficult to imagine.
The external acoustics are impeccable. You can argue about design from the point of view of personal tastes and preferences, but if you abstract from them, then the acoustics are simply pleasant to look at both as a whole and almost under a magnifying glass in detail - not a single roughness, not a single dubious moment. The proprietary case, complex and expensive to manufacture, in some places reaching a thickness of 6 centimeters, is finished and assembled perfectly. The coating, the fit of parts and joints, the quality of individual parts - everything is good.
Beryllium tweeter membrane
The palette of standard finishes has changed slightly. In addition to the usual and expected white and black varnish, there are such options as Metallic Blue (really metallic blue), Ash Gray (I would call it metallic gray), and British Racing Green (deep green color, well known to fans of the English sports car classics) . In addition, you can order almost any color according to the color palette, because the conditions for Russia will be similar - the same 10 percent on the price of the basic options. I saw demo samples of the finish: excellent quality, deep colors and beautiful varnish.
Like most companies working in the field of High End Audio, Focal's history began with Jacques Maule's passion for high-quality sound. Being one of the main participants and enthusiasts of the Parisian Hi-Fi club in the 1970s (by the way, together with the founder of another famous French manufacturer - Triangle Electroacoustique) and having experience working at Audax, he decided to try his hand at producing speaker systems. It was quite obvious to him that it was impossible to create good acoustics without designing the speakers yourself. And since the driver options available at that time did not suit him, the main direction of his business was the production of his own dynamic heads. And since then, Focal (formerly JM Lab) is rightfully considered not only one of the best, but also one of the largest manufacturers of high-end speakers. Many well-known companies use its heads in their models (in particular, Wilson Audio), but the most advanced developments can be found in the Focal Utopia III series speakers. As you know, to obtain truly large-scale sound with powerful bass (when using dynamic drivers), you need a housing of the appropriate size. Yes, with a quick acquaintance with LifeStyle products, attempts to deceive the laws of physics may even seem successful, but after comparison with full-range acoustic systems of classical design, the entire inconsistency of such an approach becomes completely clear. Unfortunately for audiophiles - fans of both minimalist design and small speakers that disappear into the environment, it is not possible to satisfy their such multidirectional needs. But it is quite possible to purchase speakers that are the pinnacle of not only technological, but also design thought. Focal Grande Utopia EM is one of those rare examples when, when looking at the acoustics, there is no doubt not only about its outstanding sound capabilities, but also that it will decorate absolutely any interior. This is largely due to the unique design invented by the Parisian bureau Pineau et Le Porcher, with which Focal has been collaborating for almost ten years. The designers managed to do the seemingly incredible - to give the two-meter speakers, weighing two and a half centners each, a surprisingly light and airy shape. Entering the room where the flagships of the French company are installed, the listener does not feel overwhelmed by their size, but is imbued with interest mixed with admiration. So how does the Focal Grande Utopia EM deliver on its visual promise?
The first series of acoustics called Utopia was released in 1995, and it was the first to see the light of speakers with diffusers made of the Sandwich W composite, which has a rare combination of high rigidity and good internal damping. The next generation appeared in 2002, impressing the public with a unique high-frequency driver with an inverted dome made of pure beryllium. And now we have to get acquainted with the current version, launched on the market some time ago. An important distinguishing feature of the new product is the use of a magnetization system for the woofer. Of course, such a principle was not invented by Focal; just remember the legendary speakers Telefunken, Klangfilm and others created back in the 1930s, but its implementation at the present stage can be considered unique. Most high-end speaker manufacturers today strive to offer customers plug and play solutions that require minimal technical knowledge during installation and operation, but this philosophy does not always work, especially when it comes to achieving maximum results. Focal's approach is different. The buyer will receive at his disposal not just an expensive status toy, but a flexible and sophisticated instrument that gives pleasure to music.
What is the advantage of a magnetized bass speaker compared to traditional solutions? The key to high-quality bass is the combination of high sensitivity of the speaker and low resonant frequency, but to obtain the latter you have to, in addition to increasing the flexibility of the suspension, increase the mass of the diffuser, which automatically leads to a decrease in sensitivity. The situation can be corrected by increasing the power of the magnetic system, but here we are faced with limitations on the physical size of the passive magnet, which leads us to the need for a compromise between sensitivity and resonant frequency. or - to the use of magnetization. The numbers are impressive: a 16 EM speaker (the number indicates the size of the cone in inches), installed in
Focal Grande Utopia EM has a magnetic field strength in the gap of 1.7 Tesla, which provides it with a sensitivity of 97 dB and a resonant frequency below 24 Hz! Assembled, one speaker weighs 24 kg, of which 22 kg is for the magnet and coil. It is equally important to supply the electromagnet with the correct power, so each speaker has its own power supply with a six-position switch. The neutral position corresponds to a perfectly flat frequency response when measured in an anechoic chamber. And the use of other switch positions, coupled with the crossover adjustment capabilities, allows you to achieve optimal performance of the low-frequency section in rooms that do not have optimal acoustic conditions.
Other parts of the range also did not go unnoticed. First of all, the famous tweeter with a beryllium diaphragm underwent significant modernization. Essentially, the speaker has been redesigned. The uniquely designed magnetic system allows for a radical reduction in resonant frequency and incredible sensitivity, which makes the sound in the high and mid ranges even clearer. Although the cutoff frequency at which the tweeter takes over remains at 2.2 kHz, the resonant frequency has been reduced from 1280 Hz (the previous version of the speaker) to 528 Hz! Let us remember that we are talking about a traditionally sized tweeter capable of going up to 40 kHz, and not about a 2-inch driver loaded on a horn. Therefore, we can talk about a unique achievement of Focal engineers.
The update also affected the material of the mid-frequency and low-frequency speaker diffusers. The famous Sandwich W composite, with two outer layers of fiberglass and an inner layer of syntactic foam, has been optimized for performance in a variety of loudspeaker applications. By varying the number of layers of fiberglass and the density of the foam, it was possible to completely control the characteristics of the speakers for use in the midrange or bass ranges. Another innovation is the use of a precision laser for cutting out diffusers, which made it possible to achieve ideal manufacturing accuracy and repeatability of copies.
It is worth mentioning the crossover. The main principle of constructing filters in Focal's top-end acoustics was the rejection of additional correction of the behavior of the speaker both inside and outside its working area. Since, as mentioned above, branded heads are capable of maintaining a linear characteristic even far beyond the part of the range allotted to them, there was no need to introduce correction chains. However, the new version of the OPC+ crossover (Optimum Phase Crossover) allows the owner to change the output of the speakers at different frequencies, not only in the low frequency range, to adapt the sound to the acoustic properties of different rooms. Although such an adaptation does not at all affect the overall character of the system, one should naturally strive to ensure that Focal Grande Utopia EM is provided with conditions under which there would be no need to resort to passive equalization.
It is impossible not to note the original design of the cases. In addition to the fact that each speaker works on its own separate volume with different types of acoustic design, the main highlight is the ability to mechanically focus the sound. The relative position of the emitters on the front panel affects not only the phase characteristics of the sound, but also the optimal distance at which full listening is possible. Thanks to the adjustable Focus Time system, the Focal Grande Utopia EM is easy to set up for listening in the near-mid range, which seems unthinkable for speakers of this size. As you rotate a special key on the rear panel of the high-frequency section, the angle of inclination of the cabinet sections changes and the speakers seem to be aimed at the listening point, which allows for optimal frequency balance and spatial resolution in this place.
It must be said that acoustics of such a high class, if properly installed and combined with components of the appropriate level, are quite useless to evaluate according to traditional audio examination criteria. If, while listening, your hearing catches on any defect, then rest assured that the problem is hidden not in the speakers, but in the room or in the electronics. In our case, the Focal Grande Utopia EM operates in a large acoustically treated room, surrounded by components that have long proven their worth. Therefore, I don’t want to dissect the sound, isolating individual elements in it. I would like to note one more important point: often the quality of the material offered by the modern recording industry is significantly lower than the level of resolution of such acoustics, and as a result, its owner will be forced to worry about selecting a music library that will allow him to get the most from the system. Nevertheless, here are some basic impressions from a long conversation with the flagship of the French company. Firstly, the scale of the sound and the seemingly completely limitless dynamic range are striking. The transition to fortissimo occurs with lightning speed - the cannons in the “1812” overture fire with frightening realism. It is very pleasing that the size of the musical images is not exaggerated or understated, but is entirely consistent with the usual, whether when playing classical works or rock.
Therefore, the effect of being present at a concert when performing the corresponding soundtracks is as complete as possible. Secondly, all microdynamic nuances and contrasts are presented clearly and at the same time absolutely unobtrusively. Focal Grande Utopia EM does not dissect the recording, cutting the musical canvas into unrelated pieces, but, as it were, illuminates it from the inside, revealing all the details hidden in it. Their style can be compared to the work of a good cinema projector, using light to create a full-fledged picture from a small piece of film. The listener receives all the information simultaneously, as a single and indivisible whole, but, if desired, can highlight any detail that interests him. This is a rare property even among acoustics of the highest price category. If we talk about the ability to convey the emotional content of recordings, then the speakers from Saint-Etienne are able to combine the tenderness and ease of presentation of the mid-frequency range in vocal and solo instrumental parts with incredible percussive power in fortissimo. Thus, the emotional message is always conveyed in the form in which composers and performers intended it, both at the micro and macro levels. Usually I try to describe the handwriting of the system using the example of certain records familiar to me and most readers, but in this case it is completely unnecessary.
Source: AudioMagazin 5 2012
More terminals
The design remains fundamentally the same - the midrange driver and tweeter are each located in their own closed volume, in fact in separate housings connected at a certain angle (to equalize time delays and create the desired polar pattern), and the low-frequency section uses a large-diameter bass reflex port directed downwards into the base acoustics.
By default, the fragile tweeter is covered with a rigid, conditionally non-removable aluminum mesh
The changes noticeable from the outside are the new complex-profile TMD (Tuned Mass Damper) suspension, used in the design of the 16.5-centimeter (this is the normal size for the “middle”) mid-range speaker, which first appeared and was tested on the Sopra line. This suspension minimizes the possibility of unnecessary resonance effects, which in turn can contribute to more accurate and clear sound.
From Sopra, an aluminum conditionally non-removable protective mesh for a 27 mm concave beryllium tweeter came into place. The 27-centimeter woofer seems to have been left unchanged.
Also, upon external inspection, you can see that the acoustics have received a completely new patch panel, allowing the use of bi-amping or bi-wiring. There are now not one, but two pairs of excellent WBT acoustic terminals, in the basic version closed with original jumpers.
The ideology and implementation of the tuning jumpers, which allow you to adjust the bass and high-frequency output, remains the same - three values for each adjustment and the original massive spring-loaded jumpers. Adjustments without fanaticism - both here and there are only plus or minus 1 dB. Against this background, the operating parameters of the crossover have changed slightly. Quite a bit, but equipment of this class should not have small things.
But in fact, the mesh can be removed if the conditions of use allow it
The diffusers are manufactured using the company's well-known, proven three-layer construction of a foam core and two layers of fiberglass - these are the so-called W-diffusers. Inside, the “Power Flowers” also remained - these are stacked structures made up of several round magnets-“petals” arranged in a circle. And to the midrange driver was also added the NIC (Neutral Inductance Circuit) technology system, which uses a Faraday ring added to the speaker magnet design. This is used to stabilize the characteristics of the speaker at any position of the coil in the gap. The result is less distortion, cleaner and more intelligible sound.
Lighter than fluff
Finishing with the speakers, I wanted to talk a little more about the tweeter, including its membrane. I have seen the externally concave beryllium dome in different versions more than once, after all, for Focal this is a long-standing proprietary technology and great pride. Immediately I had the opportunity to hold in my hands the dome itself, which had never been assembled into a solid tweeter. It is logical that the beryllium dome should be very hard, but brittle. Of course, I didn’t try to break it, but the weight is impressive. If you simply release it from your hand, it will not fall, it will glide and somersault in the air, like a leaf or seed of a plant - the air resistance is enough for a leisurely flight.
Midrange Focal Scala Utopia III Evo
And one more important experiment that I was not able to do with Sopra acoustics before. The conditionally non-removable protective mesh from the tweeter can still be removed. And although there are no such recommendations anywhere, if you unscrew two screws and remove the protection, then underneath you will find a completely neat surface and even the inscriptions “Beryllium” and “Hand made in France”. Indirectly, all this seems to hint that if you can provide the tweeters with proper security in your listening room, then the meshes can be unscrewed. By the way, looking ahead, I’ll say that the result is audible, not that it’s audible catastrophically, but there is a difference and without the mesh the sound is a little cleaner and more transparent.
Another nuance is the internal wiring. I don’t know what kind of cable it was made of, but I came across information that the wires are also of French origin. Well, what is significant about the characteristics of the wiring itself is that a cross-section of 4 square millimeters is used for the tweeter and midrange driver, and all eight for the woofer.
Once again, adding up all the changes in my mind, I concluded that the engineers who designed the updated model did their job carefully and thoughtfully. The company and its developers are definitely not standing still, improving exactly what is needed. This is not cosmetics for the sake of a new index on the case, but a subtle and professional refinement. These are the general first impressions of acquaintance, then you need to listen - it also happens that on the surface everything is great and logical, but the sound raises questions. But I will neither praise the sound in advance nor try to predict it.
Grand Utopia map version 1.13 for Euro Truck Simulator 2 (v1.43.x)
Version 1.12 for Euro Truck Simulator 2 (v1.42.x):
A fictional beautiful map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed To launch the maps required all DLC Now the map requires the DLC Road to the Black Sea to work. Currently there are 44 cities on the map:
Changes:
Added 4 new cities Added new roads Some traffic junctions were redone Bugs were fixed
Uploaded by: modsets November 3, 2022 at 12:43 pm Published: November 3, 2021 at 12:59 pm
Version 1.11 for Euro Truck Simulator 2 (v1.41.x, 1.42.x):
A fictional beautiful map with picturesque areas of France Stand-alone (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed All DLC is required to launch the map Now the map requires DLC for the map to work Road to the Black Sea At the moment There are 40 cities on the map:
Changes:
Villages added Krautergersheim Port-Aelvinque Maisnil-lès-Libercourt Cities added Utopia - Zone portuaire Meulan Companies added STI INTER AD Translog Transports du Vivarais Pôle Logistique Réunion TLI TRANS OUF GROUPE FRC AT TRANSPORTS IECO TRANSPORTS FRANCE TC Trucking Bros Banzet Hoff Transport Tristant Grand Est Added customs warehouses N033 N034 N035 N037 N041 N042 N043 N044 N048 N049 N050 N051 N052 N053 N054 N056 N057 N058 N059 N060 N061 N062 N063 N064 N065 N069 N071 N072 N074 Start of road processing symbols Correction of errors and errors when creating a map
Uploaded by: modsets August 8, 2022 at 12:14 pm Published: August 9, 2022 at 10:43 am
Version 1.10 (03/27/21) for Euro Truck Simulator 2 (v1.40.x):
A fictional beautiful map with picturesque areas of France Stand-alone (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed All DLC is required to launch the map Now the map requires DLC for the map to work Road to the Black Sea At the moment There are 40 cities on the map:
Changes:
The capital is currently endowed with an industrial port in which you will find an important number of companies and therefore cargo. The Marine Station is also present, allowing you to reach the center of Utopia in a few minutes or the city of Rivenci in a few hours. Finally, our beautiful island is now self-sufficient in electricity thanks to the construction of a nuclear power plant where work will be offered to you. We have also been able to add a new coastal village located south of the port. Port Aelvinque is the old village of Cliffface, crossed by Departmental Road 6. Don't forget to visit the old castle of the Dukes of Aelvinque on its rocky headland, as well as a natural arch carved by thousands of years of erosion! Otherwise, you can simply stop for a few hours at one of the coastal beaches to enjoy the beautiful sunset. The screenshots show new places in 1.10 for 1.40 Village, port, castle, arch, etc.
Uploaded by: modsets March 27, 2022 at 12:35 pm Published: March 28, 2021 at 10:47 am
Version 1.10 for Euro Truck Simulator 2 (v1.39.x):
A fictional beautiful map with picturesque areas of France Stand-alone (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed All DLC is required to launch the map Now the map requires DLC for the map to work Road to the Black Sea At the moment There are 39 cities on the map:
Changes:
This update focuses on creating the island's capital: Utopia. The latter is divided into several districts, connected by a ring road, as well as other roads. However, some parts of the capital are missing. (So as not to delay the publication of this version). Therefore, the port area and Governor's Island are not yet available, but will be available in later versions. Three new villages have been added: Neyland, Montchaux-Soreng and Courfeyrac. Located on the D21 road connecting Utopia to Paradise road. The village of Aix-Noulette-sur-Hulluch was also expanded.
Uploaded by: modsets February 4, 2022 at 11:32 pm Published: February 5, 2022 at 10:54 am
Version 1.9 for Euro Truck Simulator 2 (v1.38.x):
A fictional beautiful map with picturesque areas of France Stand-alone (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed All DLC is required to launch the map Now the map requires DLC for the map to work Road to the Black Sea At the moment There are 39 cities on the map:
Changes:
Adaptation for 1.38
Uploaded by: modsets August 21, 2022 at 4:48 pm Published: August 22, 2022 at 11:18 am
Version 1.8 for Euro Truck Simulator 2 (v1.36.x, 1.37.x):
A fictional map with picturesque areas of France Stand-alone (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed All DLC is required to launch the map Now the map requires DLC for the map to work Road to the Black Sea Currently on map of 39 cities:
Changes:
New cities have been added. The map now requires the Road to the Black Sea DLC.
Uploaded by: modsets April 4, 2022 at 2:56 pm Published: April 5, 2020 at 10:23 am
Version 1.7 for Euro Truck Simulator 2 (v1.36.x):
A fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, you do not need a new one To launch the map, all DLCs are required. At the moment, there are 20 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat -Egeskov - Montbois - Chalezeule - Saint-Angel - Dolan-sur-Mer - Ghyvelde - Saint-Vaury - Saint-Benoît - Ville-Marie - Gravouland - Tours - La-Baie-du-Chien - Krewit — Chavanon — La Josefine — Château d'Ours — Jean-du-Bartail — Gebbbe-du-Montargis
Changes:
4 cities added → La Josefine → Château d'Ours → Jean-du-Bartail → Gebbbe-du-Montargis
Uploaded by: modsets December 25, 2022 at 1:26 pm Published: December 26, 2022 at 2:30 am
Version 1.6 for Euro Truck Simulator 2 (v1.35.x):
A fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, you do not need a new one To launch the map, all DLCs are required. At the moment, there are 20 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat -Egeskov - Montbois - Chalezeule - Saint-Angel - Dolan-sur-Mer - Ghyvelde - Saint-Vaury - Saint-Benoît - Ville-Marie - Gravouland - Tours - La-Baie-du-Chien - Krewit —Chavanon
Changes:
9 new cities added: Ghyvelde, Saint-Vaury, Saint-Benoît, Ville-Marie, Gravouland, Tours, La-Baie-du-Chien, Krewit, Chavanon
Uploaded by: Cruise November 3, 2022 at 2:27 pm Published: November 5, 2019 at 12:28 am
Version 1.5 for Euro Truck Simulator 2 (v1.35.x):
A fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed To launch the map, all DLCs are required At the moment, there are 11 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat -Egeskov - Montbois - Chalezeule - Saint-Angel - Dolan-sur-Mer
Changes:
Adaptation for 1.35 New cities added - Montbois - Chalezeule - Saint-Angel - Dolan-sur-Mer
Uploaded by: modsets July 7, 2022 at 4:28 pm Published: July 9, 2019 at 10:17 am
Version 1.4 for Euro Truck Simulator 2 (v1.34.x):
A fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed To launch the map, all DLCs are required At the moment, there are 7 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat -Egeskov
Changes:
- added the city of Egeskov - added customs warehouses - fixed some minor mapping errors - fixed other minor errors The mod is adapted to the game version ETS 2 1.34.x
Uploaded by: Saturn February 20, 2022 at 1:02 pm Published: February 20, 2022 at 5:34 pm
Version 1.3 for Euro Truck Simulator 2 (v1.33.x):
A fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), if you have a profile for the previous version, a new one is not needed To launch the map, all DLCs are required At the moment there are 6 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat
Changes:
Found errors have been fixed Changes in 1.2 Update for 1.33
Uploaded by: modsets January 28, 2022 at 4:09 pm Published: February 4, 2022 at 4:52 pm
Version 1.1 for Euro Truck Simulator 2 (v1.32.x):
Fictional map with picturesque areas of France Autonomous (when creating a profile, select the grandutopia.mbd module), see screenshot All DLCs are required to launch the map Currently there are 6 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat
Changes:
- added cities Rivenchy, Gavroche, Monteil - adjusted tariffs - fixed license plates on traffic vehicles - fixed rain inside tunnels - fixed a bug on the way to Globeur (Pérignat) - adjusted the economy - fixed some minor mapping errors - fixed other errors - Mod adapted to the game version ETS 1.32.x
Uploaded by: Cruise October 7, 2022 at 8:32 pm Published: October 8, 2022 at 2:28 am
Version 1.0 for Euro Truck Simulator 2 (v1.31.x):
Fictional map with picturesque areas of France Autonomous (when creating a profile, select the module grandutopia.mbd), see screenshot All DLCs are required to launch the map Currently there are 6 cities on the map: -Bausel -Beaubourg -Clerlande -Lafalaise -Chirac -Perignat
Uploaded by: Saturn July 14, 2022 at 10:47 am Published: July 15, 2018 at 1:29 pm
Sound: large-scale, confident, bright
The first one I played was Susan Wang's "Close To You". It is immediately noticeable that the acoustics feel confident in a large room, creating a completely realistic volume of sound with good separation in depth and very accurate elaboration of the contours and volume of images.
By the way, when testing modern Focal models, especially from the older lines, I noticed that the scale and volume are often better than expected, both quantitatively and qualitatively. Also included in the common family traits is the attitude towards arrangement, which I decided to experiment with immediately while listening to the first disc. The arrangement is possible and parallel, and turning is not prohibited at all - everything is adjusted to the specific conditions of the room and to personal preferences. I chose an arrangement with a moderate turn towards the listener and a fairly distant listening point.
Focal Scala Utopia III Evo woofer
Using this disc as an example, the sound turned out to be not harsh, transparent, with an open, detailed middle and a large number of very reliable and detailed high frequencies. The bass is somewhat softened, but not sloppy, without a lack of control. Although, of course, it is not worth assessing the bass capabilities of the acoustics and system based on this recording. The openness and ease of movement, however, do not lead to a feeling of overcoloring or intrusiveness, and given the specific nature of the album's recording, one might expect intrusiveness and even sweetness, but this is not the case.
By the way, with McIntosh amplification, the acoustics really play well: it feels like its own character is not lost, and the specific sound of “Macs” does not become the basis for the character of the system. Rather, it turns out to be quite a delicate combination.
In general, the character of the sound is a little light, emotionally rich, textured. But at the same time, there is no laxity in the handwriting, there is no excessive emotionality that could interfere with perception and tire. Also, there is absolutely no synthetics or tightness, as, for example, there are other extreme manifestations, such as excessive pedantry, rigidity or severity. And in general, everything is very well balanced: the sound has a character, and it is interesting, recognizable and memorable, but there are no noticeable distortions or imbalances.
Each speaker in the design, in fact, is assigned a separate housing
The next disc is Rene Aubry “Memories du Futur”. Here, according to the recording, there is both deep bass, which completely coincides with what is stated in the passport data, and volume with air, so that overall everything adds up to a realistic and interesting musical picture. A certain amount of warmth and lightness is present, but it does not spoil the overall picture at all, rather it complements it exquisitely.
The scene is precise, but the images and plans are drawn without holographic sharpness; rather, they are physical and natural. The vocal parts sound great both on their own and as part of the entire recording. With clearly expressed emotional richness, the balance between it and analyticity is well maintained - high detail and good dynamics undoubtedly benefit the sound.
Acoustics base
Another recording is “Sidney Bechet et Claude Luther.” For some time now, I have been trying to be sure to take something very old, but more or less decently reissued (if we are talking about using digital media), into the test. On such recordings you can very well understand some of the capabilities of the system and acoustics in particular.
In some cases, the same old mono recording will sound dull, lifeless and simplified, with a dot-like stage; in others, all age-related problems and flaws will be heard, but it will not be they that will be heard, but the music as a whole. Of course, high detail and timbral intelligibility and detail will play a significant role here. Also beneficial will be the absence of distortions and a smooth, unaccented tonal balance. And of course, the ability to fully build a specific monophonic “scene”.
The bass reflex port of the Focal Scala Utopia III Evo is directed to the base
In practice it worked out very well. Of course, large floor-standing speakers in a large room will, in principle, be in an advantageous position, but in addition to scale, you also need quality... Everything is good with quality: the detail is high, even the old “dusty” sound is heard as more lively and transparent. There is saturation, but there is no dullness. You can listen, you can analyze the recording - this is left to the discretion of the listener. Well, a little light and warmth emphasize the emotionality of the live recording. The mono stage is built correctly, there are no complaints about it. The volume and dimensions of the sound here definitely benefit the recording.
Speaker systems Focal Grande Utopia EM Evo
If Focal redirected the flagship Utopia from the High End Audio market to Ultra Luxury, raising its price tag to the skies, we wouldn’t be surprised at all - these giants have everything to top the list of the most expensive speaker systems in the world. But the French company remains true to audiophile ideals. And now we find out what speakers are capable of, which are perhaps the most advanced in the modern audio industry.
Exactly 25 years ago, Focal surprised everyone by introducing the Grande Utopia, an acoustic product in which the company invested all its scientific, research and engineering resources. For the industry, the French project was far from the first attempt to create “absolute speakers” with parameters that exceed the capabilities of human hearing. However, Focal's development differed from others in all respects: characteristics and dimensions, finishing and design innovation, unprecedented audio technologies and materials.
The second-generation Grande Utopia, subsequently released, seemed to be completely unattainable systems - and this despite the fact that some manufacturers have already begun to put even more expensive acoustics on the market, priced at $1 million per pair (the unofficial record, by the way, belongs to the extravagant Hart Audio D&W Aural monitors Pleasure for five million dollars, but their incredible price was due to the gold cases).
Moreover, the tweeter is located exactly in the acoustic focus of the two midrange drivers, and the angle of convergence of the radiation axes can be adjusted with a mechanical regulator.
And what is 30 million rubles after that for the amazingly chic “Grands”? And if you subtract from their price the exclusive finish shown in the photo, then the speakers will cost the client “only” 200 thousand euros, which makes them very attractive systems in the “absolute league” in terms of price/perfection ratio. It is not surprising that the company began to receive more than one-off orders for the flagship model (confirmation of what has been said in the form of serial numbers can be found in our photographs) and was forced to put the assembly of giants in the Saint-Etienne plant literally on the same flow with the more affordable Utopias.
But let's look at the Grande not as a luxury item, but as an audio component, which comes with an instruction manual (and at the same time a separate unpacking/assembly manual - the acoustics are delivered in four wooden containers with a gross weight of about a ton).
There are no compromises in the layout. All five drivers are housed in separate monumental housings with a “gamma structure” (a material obtained by gluing together several MDF boards). Moreover, the tweeter is located exactly in the acoustic focus of the two midrange drivers, and the angle of convergence of the radiation axes can be adjusted with a mechanical regulator.
The electromagnetic principle has a number of advantages: it allows you to make a massive, heavy driver more sensitive and tuned to the required output.
The largest 40-centimeter bass driver operates in a band of up to 80 Hz in a bass-reflex design and is notable for the fact that the magnetic field inside the driver is created not by a permanent magnet, but by special windings through which current flows from external power supplies. The electromagnetic principle has a number of advantages: it allows you to make a massive heavy driver more sensitive and adjustable to the required output (the level of bias is set by selectors on the EM blocks).
The second 27-centimeter low-frequency driver has a bandwidth of up to 220 Hz. It is housed in a closed housing, and for its caliber it is a very “fast” and responsive speaker (thanks to the magnetic system and an extremely rigid lightweight composite cone). Please note that it is responsible for the high bass both literally and figuratively - it is raised above the floor level by as much as seventy meters. What does this give? If the height of the ceilings in the room is not a multiple of this value (3.4 or 6.8 meters), then we can easily avoid enhancing one of the most unpleasant “rumbling” components in the low-frequency resonances of the room.
Other content is familiar to us from other Utopia models of the latest third generation - Scala Evo and Maestro Evo. Here we get two 16.5-centimeter midrange drivers with diffusers made of an almost weightless W-sandwich. Their design uses a proprietary TMD anti-resonance suspension and an NIC magnetic system with neutralized eddy currents - these innovations made it possible to reduce the level of harmonics and unevenness of the frequency response over the working segment to values unprecedented for dynamic drivers. And this whole composition is complemented and separated by a 27 mm IAL2 tweeter made of pure beryllium with a newly optimized “infinite” reverse chamber.
Let me emphasize one important point. Thirty years ago, Focal engineers could focus on any technology - take, say, classic paper, metals, plastic or ceramics, and come up with some of their own improving coatings for traditional fabric or metal tweeters. But in the end, the company chose little-studied composites and inverted domes and, with amazing persistence, perfected them over the course of decades. And I will say that it is not in vain. Anyone who has had the opportunity to evaluate the sound of all generations of “Utopias” will confirm to you that tremendous progress has been achieved in this matter.
For example, from the very first sounds, Grande surprises with the same rare and amazing self-removal, which is also characteristic of other “Utopias” of the third generation. If the path is selected correctly, then the acoustics seem to completely disappear from the field of reproduced events. Of course, it is physically present in the room, but there is not a shadow of “hardware” in its sound, and in the music there is not even any sign of reproduction as such. The sound is so precise that there is simply nothing to describe in it!
What's the difference then? The fact is that the exemplary harmonic neutrality here is brought into full compliance with spatial three-dimensionality, or more precisely with the way we perceive it. And this is the main feature of these systems. The images of the performers do not undergo any kind of “zooming” and turn out absolutely natural in their apparent outlines. On a one-to-one scale, Focal flagships also present all major sound sources when played: the piano comes out visually large and solid in timbre, not just a sound comes from the kick drum, but literally a shock wave, the tuba on the forte generally “blows” so that you feel the physical inner trembling... Even if we are talking about reproducing a scene that does not “fit” into the room, then it turns out one to one - an organ recorded in a hall with high arches, for example, sounds as if its timbral “canvas” was inserted into a high spatial a frame that extends beyond all physical boundaries of your premises.
Exemplary harmonic neutrality is here brought into full compliance with spatial three-dimensionality, or more precisely with the way we perceive it.
The most interesting thing is that the illusion of a live performance is almost always born - when listening to audiophile recordings and digital high-cuts, music releases of ordinary “commercial” quality (unless, of course, they are ruined by compression and perverted mixing) and even bootlegs made generally on non-professional equipment . Sometimes you can’t even understand what is more stunning - the frightening naturalism of the sound of an impeccable analog phonogram, which was recorded directly by the coolest Neumanns and, in addition, released on heavy vinyl at 45 speed (I’m talking about one of the Japanese releases of Tsuyoshi Yamamoto Trio) or what seemed completely it is impossible to resurrect music from some technically dead recording (such as an archival digitization of gramophone rarities or some compressed soundtrack from a video shot on a smartphone in a music club).
In general, Grande Utopia's loyalty to recordings of any quality is simply amazing! And with this advantage there is only one drawback: with these systems it is very difficult to force yourself to press the “stop” button. They force you to listen. Not yourself, not the sound, but the music.
However, there is one more problem, which is typical for any expensive systems of a particularly large format. All of them impose extremely strict requirements on the entire environment, and the selection of sources and amplifiers adequate in class solves the problem by only 30 - 50%. Since the speakers have a full bass range and can produce any dynamic levels, they definitely need a room with an area of more than 50 - 60 square meters (preferably with a “floating” floor and solid walls), selected acoustic treatment of all surfaces to eliminate early reflections and fluttering echoes, as well as perfectly found distance relative to the walls and listening point. The manual for Grande Utopia suggests using a special mathematical formula to scientifically search for points in the room where low-frequency resonances will not be excited.
However, unlike other absolute class systems, Grande Utopia is quite compatible with acoustically unprepared ordinary living spaces - large living rooms, for example. In describing the design, I did not mention the adjustable crossovers, which allow you to adjust the characteristics of each frequency band within +/-3 dB. These filters appeared in the second generation Grands, but are still unique - they are connected to each other by very expensive internal wiring, made using selected components (capacitors, for example, at the design stage were selected from as many as 40 options proposed by manufacturers), and allow reconfigure the speakers from linear “studio” mode to a sound that will give the right musical balance in combination with a specific room. There are more than 1,400 such adaptation options, so finding the best arrangement and suitable crossover profile for even the most experienced tuner can take from several days to several weeks.
Unlike other absolute class systems, Grande Utopia is completely compatible with acoustically unprepared ordinary living spaces - large living rooms, for example.
In our test, the adjustment of the path to the room was significantly accelerated thanks to the processor in the Classe Delta PRE preamplifier, which contains a lot of tools for flexible correction. And I would fundamentally recommend ordering Focal Grande Utopia in this combination in order to have a comprehensive arsenal for obtaining absolute sound.
But in general, such exquisite and masterpiece acoustics deserves not only the selection of a decent path and cables, but also the construction of a special hall with carefully calculated acoustic properties. Then you can not just reproduce the music, but recreate it as an alternative reality, and in the most exciting and emotional form.
SYSTEM
- Sources SACD player Marantz SA-KI Rubi
- vinyl player Dr. Feickert Analogue Woodpecker with cartridge DL-103 (MC)
- laptop Apple MacBook Air A1465
- digital USB InAkustik Referenz High Speed USB 2.0
The editors thank the Focal Moscow for their assistance in conducting the test
Focal Grande Utopia EM Evo
Manufacturer: Vervent Audio Group (France)
www.focal.com/ru
Configuration: 5 emitters, 4 bands || Acoustic design: bass reflex || Frequency range: 18 - 40,000 Hz || Lower cutoff frequency (-6 dB): 14 Hz || Sensitivity: 94 dB (2.83 V/1 m) || Resistance (nominal/minimum): 8/3 ohms || Crossover frequencies: 80, 220 and 2300 Hz || Recommended amplifier power: 50 – 1500 W || Finish: black or white lacquer, gray enamel combined with lacquered wood || Dimensions: 654 x 2012 x 880 mm || Weight: 265 kg || Price per pair: 19,999,900 . (exclusive version 29,999,900 )
share
Tags: FocalFocal Grande Utopia EM EvoGrand Prix
Sound: honest, emotional, well-made
Next he put on the collection disc “Jazz in Paris Remixed”, consisting of unusually reworked jazz standards. The transmission of rhythm and emotions is at an excellent level. Volumetric, structural, correctly flowing in accordance with the recording, or, conversely, sharp and biting bass, high-quality lower mids. Yes, however, the rest of the range is in perfect order.
What pleased me was the stitching of all three stripes. I did not hear any diversity of character, no lag-lag, no multi-tonal coloring - everything is perceived aurally as a single whole, without breaks. Of course, beryllium tweeters produce a lot of high frequencies, but the highs do not feel raised or accentuated, they are simply accurate, transparent and detailed, without sharpness. And this character fits perfectly with the mid-frequency range, which, in turn, flows into the bass component. Virtually seamless aurally.
The acoustics can also be installed on spiked legs, but there are also wheels like this. Convenient, at least for the time of adjusting the arrangement, after all, the speakers have a significant weight
Using this disc as an example, I noted that, despite good analytical skills, the entire system in this implementation still gravitates more towards emotional presentation. It's interesting to listen to, the music is captivating.
The sound of Anorexia Nervosa's "Drudenhaus" album probably had enough dynamics, but even if the slightly bright and slightly softened sound here was not the most successful. Formally, everything reads well, even in terms of detail I have no special complaints, which is surprising, but almost any person who sometimes plays heavy metal on a high-end system (and I know quite a few of them) would prefer a darker, denser sound, more suitable for such music . More darkness, fear and meat with blood... However, everything is more or less clear here - the acoustics cope with the formal criteria, but for the heavy genre you need a different environment, a different system. But if the problem were at the level of just rock music of moderate severity, then this problem could already be considered solved.
Two pairs of terminals and jumpers that adjust the HF and LF parameters
Then I listened to Grieg's Lyric Pieces. By the way, the recording is also quite old, and therefore has its own specifics. So this specificity can be heard, but it does not interfere with listening to music at all. Yes, the piano sounds a little “thin”, without the proper depth, but this is a question for the recording, and the tract handles everything else as best it can, and as a result, you can simply listen to the music without paying any attention to artifacts at all. However, in reality the sound turned out to be livelier and more multifaceted than I expected. And there is air, and the volume-proportions are accurate and verified.
And the last disc is a performance of William Walton's Viola Concerto and Orchestra. Overall, everything is very good, although the recording is difficult. Sometimes it is noticeable that the after-sounds begin to fade out a little faster than we would like, but this is definitely not a question of acoustics, it’s just that a higher-level system would be appropriate here. Even if you like a particular combination (and there are good reasons to like it), then it would be more logical to choose both an amplification and a source from the older lines. Also, at times the solo instruments are emphasized a little more, but the overall picture is conveyed correctly; dynamics and detail level; the tonal balance was just a little light and remained that way, without any pronounced distortions even in complex fragments. The works on this disc are very different in emotional mood, and in each individual case everything is perceived accurately, honestly and in due completeness.
Acoustics test Focal Scala Utopia III Evo
The Focal Utopia line of acoustics is the pinnacle of the activities of this eminent French company. Utopia has been around for many years, so it is logical that changes occur with some (completely unobtrusive) frequency in the line and in the designs of individual models. They always cause a lot of discussion, because in the audiophile community these acoustics rarely leave anyone indifferent, and opinions regarding changes and models vary.
To my taste and hearing, the Scala model had versions that were not very successful, falling outside the general level and class that one can expect from acoustics united by the name Utopia. And just recently a new version was born - Scala Utopia III Evo, the third for Scala personally and which became part of the global update of all “Utopias”. We will get acquainted with this new product, studying it with the proper level of pickiness.
First of all, it is interesting to understand the changes and sound of the Focal Scala Utopia III Evo, because almost the entire Utopia line has undergone a similar update process. The new Scala is available now, and the remaining models, up to the top Grande Utopia (presented in updated form at the recent Munich show), will go on sale in the autumn. Thus, this is not a single change to one specific model, but an evolution of the entire line.
The only thing that somewhat surprised me was that within the framework of the previous Utopia III series, Diablo bookshelfs were left without the Evo prefix. It would be nice if the Viva central channel and the “utopian” subwoofer remained there, but the bookshelf speakers... Are they really assigned exclusively to the role of expensive rear speakers? I doubt it, because these are very decent speakers. Maybe the issue is competition with the younger Sopras, which are really just as good? I don't have a definite answer. For now, we will study the qualitative class of changes using the example of Scala Utopia III Evo, which now turns out to be the youngest in the entire line. Although, of course, this is very conditional - junior ones, yes, but large three-way floorstanding speakers weighing 85 kilos are linked rather conditionally with the concept of “junior”.
At first glance, the external changes are not very noticeable, but this is only at first glance. Belonging to the Focal Utopia line is also unmistakably determined. However, if the company radically redesigned the acoustics and the entire line, this would raise the following questions: what happened, a change in ideology, or is this a hint that “everything was complicated” before? But such a thing is difficult to imagine.
The external acoustics are impeccable. You can argue about design from the point of view of personal tastes and preferences, but if you abstract from them, then the acoustics are simply pleasant to look at both as a whole and almost under a magnifying glass in detail - not a single roughness, not a single dubious moment. The proprietary case, complex and expensive to manufacture, in some places reaching a thickness of 6 centimeters, is finished and assembled perfectly. The coating, the fit of parts and joints, the quality of individual parts - everything is good.
The palette of standard finishes has changed slightly. In addition to the usual and expected white and black varnish, there are such options as Metallic Blue (really metallic blue), Ash Gray (I would call it metallic gray), and British Racing Green (deep green color, well known to fans of the English sports car classics) . In addition, you can order almost any color according to the color palette, because the conditions for Russia will be similar - the same 10 percent on the price of the basic options. I saw demo samples of the finish: excellent quality, deep colors and beautiful varnish.
The design remains fundamentally the same - the midrange driver and tweeter are each located in their own closed volume, in fact in separate housings connected at a certain angle (to equalize time delays and create the desired polar pattern), and the low-frequency section uses a large-diameter bass reflex port directed downwards into the base acoustics.
The changes noticeable from the outside are the new complex-profile TMD (Tuned Mass Damper) suspension, used in the design of the 16.5-centimeter (this is the normal size for the “middle”) mid-range speaker, which first appeared and was tested on the Sopra line. This suspension minimizes the possibility of unnecessary resonance effects, which in turn can contribute to more accurate and clear sound.
From Sopra, an aluminum conditionally non-removable protective mesh for a 27 mm concave beryllium tweeter came into place. The 27-centimeter woofer seems to have been left unchanged.
Also, upon external inspection, you can see that the acoustics have received a completely new patch panel, allowing the use of bi-amping or bi-wiring. There are now not one, but two pairs of excellent WBT acoustic terminals, in the basic version closed with original jumpers.
The ideology and implementation of the tuning jumpers, which allow you to adjust the bass and high-frequency output, remains the same - three values for each adjustment and the original massive spring-loaded jumpers. Adjustments without fanaticism - both here and there are only plus or minus 1 dB. Against this background, the operating parameters of the crossover have changed slightly. Quite a bit, but equipment of this class should not have small things.
The diffusers are manufactured using the company's well-known, proven three-layer construction of a foam core and two layers of fiberglass - these are the so-called W-diffusers. Inside, the “Power Flowers” also remained - these are stacked structures made up of several round magnets-“petals” arranged in a circle. And to the midrange driver was also added the NIC (Neutral Inductance Circuit) technology system, which uses a Faraday ring added to the speaker magnet design. This is used to stabilize the characteristics of the speaker at any position of the coil in the gap. The result is less distortion, cleaner and more intelligible sound.
Finishing with the speakers, I wanted to talk a little more about the tweeter, including its membrane. I have seen the externally concave beryllium dome in different versions more than once, after all, for Focal this is a long-standing proprietary technology and great pride. Immediately I had the opportunity to hold in my hands the dome itself, which had never been assembled into a solid tweeter. It is logical that the beryllium dome should be very hard, but brittle. Of course, I didn’t try to break it, but the weight is impressive. If you simply release it from your hand, it will not fall, it will glide and somersault in the air, like a leaf or seed of a plant - the air resistance is enough for a leisurely flight.
And one more important experiment that I was not able to do with Sopra acoustics before. The conditionally non-removable protective mesh from the tweeter can still be removed. And although there are no such recommendations anywhere, if you unscrew two screws and remove the protection, then underneath you will find a completely neat surface and even the inscriptions “Beryllium” and “Hand made in France”. Indirectly, all this seems to hint that if you can provide the tweeters with proper security in your listening room, then the meshes can be unscrewed. By the way, looking ahead, I’ll say that the result is audible, not that it’s audible catastrophically, but there is a difference and without the mesh the sound is a little cleaner and more transparent.
Another nuance is the internal wiring. I don’t know what kind of cable it was made of, but I came across information that the wires are also of French origin. Well, what is significant about the characteristics of the wiring itself is that a cross-section of 4 square millimeters is used for the tweeter and midrange driver, and all eight for the woofer.
Once again, adding up all the changes in my mind, I concluded that the engineers who designed the updated model did their job carefully and thoughtfully. The company and its developers are definitely not standing still, improving exactly what is needed. This is not cosmetics for the sake of a new index on the case, but a subtle and professional refinement. These are the general first impressions of acquaintance, then you need to listen - it also happens that on the surface everything is great and logical, but the sound raises questions. But I will neither praise the sound in advance nor try to predict it.
The first one I played was Susan Wang's "Close To You". It is immediately noticeable that the acoustics feel confident in a large room, creating a completely realistic volume of sound with good separation in depth and very accurate elaboration of the contours and volume of images.
By the way, when testing modern Focal models, especially from the older lines, I noticed that the scale and volume are often better than expected, both quantitatively and qualitatively. Also included in the common family traits is the attitude towards arrangement, which I decided to experiment with immediately while listening to the first disc. The arrangement is possible and parallel, and turning is not prohibited at all - everything is adjusted to the specific conditions of the room and to personal preferences. I chose an arrangement with a moderate turn towards the listener and a fairly distant listening point.
Using this disc as an example, the sound turned out to be not harsh, transparent, with an open, detailed middle and a large number of very reliable and detailed high frequencies. The bass is somewhat softened, but not sloppy, without a lack of control. Although, of course, it is not worth assessing the bass capabilities of the acoustics and system based on this recording. The openness and ease of movement, however, do not lead to a feeling of overcoloring or intrusiveness, and given the specific nature of the album's recording, one might expect intrusiveness and even sweetness, but this is not the case.
By the way, with McIntosh amplification, the acoustics really play well: it feels like its own character is not lost, and the specific sound of “Macs” does not become the basis for the character of the system. Rather, it turns out to be quite a delicate combination.
In general, the character of the sound is a little light, emotionally rich, textured. But at the same time, there is no laxity in the handwriting, there is no excessive emotionality that could interfere with perception and tire. Also, there is absolutely no synthetics or tightness, as, for example, there are other extreme manifestations, such as excessive pedantry, rigidity or severity. And in general, everything is very well balanced: the sound has a character, and it is interesting, recognizable and memorable, but there are no noticeable distortions or imbalances.
The next disc is Rene Aubry “Memories du Futur”. Here, according to the recording, there is both deep bass, which completely coincides with what is stated in the passport data, and volume with air, so that overall everything adds up to a realistic and interesting musical picture. A certain amount of warmth and lightness is present, but it does not spoil the overall picture at all, rather it complements it exquisitely.
The scene is precise, but the images and plans are drawn without holographic sharpness; rather, they are physical and natural. The vocal parts sound great both on their own and as part of the entire recording. With clearly expressed emotional richness, the balance between it and analyticity is well maintained - high detail and good dynamics undoubtedly benefit the sound.
Another recording is “Sidney Bechet et Claude Luther.” For some time now, I have been trying to be sure to take something very old, but more or less decently reissued (if we are talking about using digital media), into the test. On such recordings you can very well understand some of the capabilities of the system and acoustics in particular.
In some cases, the same old mono recording will sound dull, lifeless and simplified, with a dot-like stage; in others, all age-related problems and flaws will be heard, but it will not be they that will be heard, but the music as a whole. Of course, high detail and timbral intelligibility and detail will play a significant role here. Also beneficial will be the absence of distortions and a smooth, unaccented tonal balance. And of course, the ability to fully build a specific monophonic “scene”.
In practice it worked out very well. Of course, large floor-standing speakers in a large room will, in principle, be in an advantageous position, but in addition to scale, you also need quality... Everything is good with quality: the detail is high, even the old “dusty” sound is heard as more lively and transparent. There is saturation, but there is no dullness. You can listen, you can analyze the recording - this is left to the discretion of the listener. Well, a little light and warmth emphasize the emotionality of the live recording. The mono stage is built correctly, there are no complaints about it. The volume and dimensions of the sound here definitely benefit the recording.
Next he put on the collection disc “Jazz in Paris Remixed”, consisting of unusually reworked jazz standards. The transmission of rhythm and emotions is at an excellent level. Volumetric, structural, correctly flowing in accordance with the recording, or, conversely, sharp and biting bass, high-quality lower mids. Yes, however, the rest of the range is in perfect order.
What pleased me was the stitching of all three stripes. I did not hear any diversity of character, no lag-lag, no multi-tonal coloring - everything is perceived aurally as a single whole, without breaks. Of course, beryllium tweeters produce a lot of high frequencies, but the highs do not feel raised or accentuated, they are simply accurate, transparent and detailed, without sharpness. And this character fits perfectly with the mid-frequency range, which, in turn, flows into the bass component. Virtually seamless aurally.
Using this disc as an example, I noted that, despite good analytical skills, the entire system in this implementation still gravitates more towards emotional presentation. It's interesting to listen to, the music is captivating.
The sound of Anorexia Nervosa's "Drudenhaus" album probably had enough dynamics, but even if the slightly bright and slightly softened sound here was not the most successful. Formally, everything reads well, even in terms of detail I have no special complaints, which is surprising, but almost any person who sometimes plays heavy metal on a high-end system (and I know quite a few of them) would prefer a darker, denser sound, more suitable for such music . More darkness, fear and meat with blood... However, everything is more or less clear here - the acoustics cope with the formal criteria, but for the heavy genre you need a different environment, a different system. But if the problem were at the level of just rock music of moderate severity, then this problem could already be considered solved.
Then I listened to Grieg's Lyric Pieces. By the way, the recording is also quite old, and therefore has its own specifics. So this specificity can be heard, but it does not interfere with listening to music at all. Yes, the piano sounds a little “thin”, without the proper depth, but this is a question for the recording, and the tract handles everything else as best it can, and as a result, you can simply listen to the music without paying any attention to artifacts at all. However, in reality the sound turned out to be livelier and more multifaceted than I expected. And there is air, and the volume-proportions are accurate and verified.
And the last disc is a performance of William Walton's Viola Concerto and Orchestra. Overall, everything is very good, although the recording is difficult. Sometimes it is noticeable that the after-sounds begin to fade out a little faster than we would like, but this is definitely not a question of acoustics, it’s just that a higher-level system would be appropriate here. Even if you like a particular combination (and there are good reasons to like it), then it would be more logical to choose both an amplification and a source from the older lines. Also, at times the solo instruments are emphasized a little more, but the overall picture is conveyed correctly; dynamics and detail level; the tonal balance was just a little light and remained that way, without any pronounced distortions even in complex fragments. The works on this disc are very different in emotional mood, and in each individual case everything is perceived accurately, honestly and in due completeness.
conclusions
In terms of appearance and performance, I can’t find fault with a single screw. Very solid acoustics with excellent musical abilities. Moreover, it is not exotic-esoteric, without any pretentious character or strange problems. In addition, this is the result of the work of a large manufacturer, which independently produces both the housing and the speakers at French production facilities, assembling everything with the proper level of quality control.
It’s also very nice that Focal is evolving, the developers are fine-tuning the models with pinpoint precision, but at the same time the style and character of the sound are preserved. As for this, the third in the history of Scala Utopia, there are, of course, no traces of the shortcomings of the first version (they disappeared in the previous reincarnation), and the sound has become even more accurate and cleaner. Perhaps I cannot imagine what else can be improved here and where this acoustics can evolve further.
Obviously, the owner of the Focal Scala Utopia III Evo (unless, of course, he buys it for its beautiful appearance and because he can simply pay for it) faces a difficult task - selecting system components. Every nuance will be played, everything will be heard. Therefore, maximum attention should be paid to the initial selection of components and subsequent fine-tuning. But if you approach things this way, you can build your own (!) sound that you want, down to the smallest detail. During the test, I didn’t hear specific genre specifications from the acoustics, only the specifics of how the system played as a whole (I would like the system to be more mature). In general, based on the Focal Scala Utopia III Evo, you can build a system for the most complex recordings and genres. But this is only the “junior” model of all the “Utopias”... However, moving up the model range will in many ways be justified if you have a suitable room and the desire to scale the sound with the proper quality.
Based on materials from stereo.ru
conclusions
In terms of appearance and performance, I can’t find fault with a single screw. Very solid acoustics with excellent musical abilities. Moreover, it is not exotic-esoteric, without any pretentious character or strange problems. In addition, this is the result of the work of a large manufacturer, which independently produces both the housing and the speakers at French production facilities, assembling everything with the proper level of quality control.
Separate protective grills for speakers
It’s also very nice that Focal is evolving, the developers are fine-tuning the models with pinpoint precision, but at the same time the style and character of the sound are preserved. As for this, the third in the history of Scala Utopia, there are, of course, no traces of the shortcomings of the first version (they disappeared in the previous reincarnation), and the sound has become even more accurate and cleaner. Perhaps I cannot imagine what else can be improved here and where this acoustics can evolve further.
Obviously, the owner of the Focal Scala Utopia III Evo (unless, of course, he buys it for its beautiful appearance and because he can simply pay for it) faces a difficult task - selecting system components. Every nuance will be played, everything will be heard. Therefore, maximum attention should be paid to the initial selection of components and subsequent fine-tuning. But if you approach things this way, you can build your own (!) sound that you want, down to the smallest detail. During the test, I didn’t hear specific genre specifications from the acoustics, only the specifics of how the system played as a whole (I would like the system to be more mature). In general, based on the Focal Scala Utopia III Evo, you can build a system for the most complex recordings and genres. But this is only the “junior” model of all the “Utopias”... However, moving up the model range will in many ways be justified if you have a suitable room and the desire to scale the sound with the proper quality.
